"The Goldberg Variations" Aria - J.S. Bach

Here we go... The piece begins with an expository A section. It is a parallel period followed by a phrase. The first phrase of the period ends with a half cadence and the second ends with a perfect authentic cadence. The phrase after the period is transitional; it ends witha PAC in the key of the dominant. Therefore, the A section is open. The A section is then repeated. The B section is two phrases, the first ending on a PAC in E and the second ending on a PAC in G. It is another expository section and does not develop anything from the A section. Because no material from the A section is visited again, the B section is simple. This piece is in open simple binary form. And it's played on a harpsichord. =)

J.S. Bach: Goldberg Variations, Aria

This piece is in continuous, simple binary form. The A section has three phrases. The first eight measures contain two phrases, the first ending with a half cadence and the second with a perfect authentic cadence. Together, they seem like a parallel period, though I'm not sure if I can call it a period within the A section when there is still another phrase. The next eight bars (mm. 9-16) form a phrase that modulates to the dominant (D), and ends with a perfect authentic cadence in that key.

The B section is a phrase group which includes two phrases of eight bars each (it is symmetric). The first phrase ends with a deceptive cadence which resolves to e minor (the relative minor). The second phrase could have been four bars long, but Bach extended the cadence with an extra IV-V-I in the last three measures.

gavotte, bach.

Bach's Gavotte is in simple binary form. The A section (expository) begins in g minor, as it oh-so-thoughtfully stated in the title. We end this section in the relative key of Bb major, with a PAC before the double bar. The B section begins at measure 9 and continues through 17 being a developmental period in the key of d minor (being the minor dominant of our original key). We are taken momentarily back to the key of Bb major but the piece ends in the original key of g minor. G minor is made very obvious in measure 30 with the repeating of the f# for the rest of the piece.

J.S. Bach english Suite in G minor, Gavotte I

J.S. Bach english Suite in G minor, Gavotte I

The piece has a different rhythmic feel due to the piece starting on beat 2. It starts in g minor. As the assignment indicates, this piece is in closed binary form. The A section is a contrasting, assymetrical period. The first cadence, which is a half cadence, takes place at the end of the third full bar, the second cadence is in bar 8 where a pac occurs in the new key of Bb major. The period then repeats with the same cadence scheme. The B section begins with the pick ups into bar 9. the A section would be continuous because of the modulation of the consequent to III. The B section lasts all the way to the end and is then repeated again. No where does the A material appear in its original key. There is, though, the similar use of the rhythmic and motivic gestures of "quarter-8th-8th." The piece ends back in g minor with a PAC. I felt, if there were indeed cadences, they were not strong enough to constitute a structural division.

Bach Gavotte, BWV 808

This piece, which is in simple binary form, begins with its A section, which takes place from measures 1-8. I heard a half cadence in measure 3 and a PAC in measure 8. It modulates approximately in measure six from g minor to Bb major. The section is expository. The A section then repeats (as does the B section). Measures 9-34 are what make up the B section. The motive from the A section appears in different spots both in the right hand and in the left hand in the B section. The only cadence I heard that I was sure of was at measure 18. I felt like there may possibly be another cadence in measure 24/26. Measure 24 hints at a cadence it seems and then the following 2 bars stray a bit from that idea but then it sort of sounds like a cadence in measure 26 on the first beat. The B section is much longer than the A section, but it is simple binary form nonetheless. After playing around with some modulations, we end back in the original key of g minor.

Bach’s Suite No. 1 in G major for violoncello Solo, Minuets I and II

I had some trouble with this one like Kyle, but I'll give it my best shot.

In the first Minuet, the A section was expository. I called it tonally open but since one of my collegues called it closed, maybe I have my definitions mixed up. It ends on a half cadence so I don't feel like it's a complete unit. The B section has a few of the same rhythmic motives, but it's not close enough to call A'. The instability in the tonality of B leads me to call it developmental and then finally terminative for the last two measures ending on a PAC in the original key of G. This is in Simple Binary form.

In the second Minuet the A section is also expository. (If you see these two as one piece though, I would call this another developmental section where we play around with the tonality.) The key is usually g minor but other keys get tonicized throughout. It's hard to say what the cadence is at the end of this section, but I'd say HC. The B section once again is unstable and plays around with the tonality of the piece, but ends in a PAC. This makes this Minuet in Simple Binary form as well.

I'm not sure if we were supposed to look at the piece as a larger whole because that changes the whole analysis because it becomes more of a Da Capo aria type thing instead of a simple binary little song. That's all I got.

Bach’s Suite No. 1 in G major for violoncello Solo, Minuets I and II

Bach’s Suite No. 1 in G major for violoncello Solo, Minuets I and II are both composed in binary form. Each minuet is composed with two main sections. An A section and B section, and both are repeated.

Starting with minuet I, I believe that the A section is expository. I think the overall section is open because it ends on a D major chord forming a HC. Then, the B section is a developmental section where things seem to be a little unstable but it ends on a PAC in G major. This first minuet is a simple binary form by itself.

Minuet II start out with another expository section which in in a new key because of a mode change to g minor. The first A section ends on an interesting point and I think I would be wanting to just call it a section. Then the much longer B section continues on as a developmental section for the new minuet in the new key, and then ends on a PAC in g minor. The A section could be considered open continuous because of it ending on somewhat of an unique cadance, and the over all minuet two would be simple binary.

-one question…the minuet II has a da capo back to minuet I A section. Would this make the two pieces together a rondo because there is eventually a repeat of the original A section. I have other questions but I will wait until class for them….

Bach, French Suite in E major, Polonaise

The expository A section of this piece can be classified as closed simple binary form. Each phrase is 4 measures long making it parrallel and symmetric. It has tewo cadences; the first being a PAC, and the second modulating into B Major. This is where the B section begins. This is a double period with a PAC at measure 16. The B section does quote the A theme and develops it in the latter half. This then ends with a half cadence and then a PAC. I really honsetly didn't care for this piece too much, so here's the basic analysis....give me some Glass...

Gavotte I by Bach

This Bach Gavotte is in simple binary form. The A section starts in g minor and ends on a PAC in B flat major at measure 8 and is repeated again. I believe this section is in open form because of the key change. When section B starts it seems d minor-ish because of the I in d at measure 9 but three measures later. The beginning rhythm is reminiscent of the one in the beginning A section but because of the different key and the developmental stuff going on through the rest of the section. I would also say it is transitional because of the key change back to Bb major then G minor ending the section with a PAC.

"Gavotte I", English Suite No. 3 in G minor, Bach

I really haven't heard very many Bach gavottes, so I enjoyed listening to this. The piece is in simple binary form, like many of the Baroque dance suites. Part A is expository, and is open because of its continuity, and also because it ends on a Bb maj. chord., or a VI chord in d minor. There are absolutely no breaks throughout the whole piece, so it's kind of hard to hear many of the cadences, except those near the repeats. After it repeats, the B section begins. The B section is developmental because it has some characteristics (rhythmic) of the A section, but it's not in its literal form. Measures 11-17 serve as an entirely new motivic idea, with the treble clef playing mostly running eighth notes while the bass has the melody. It continues its development in d minor, until it starts to mesh back into g minor, which is what it ends in. All of the sections fit well together. The A section is needed to start those beginning measures of the B section.

"Aria" from J.S. Bach's Goldberg Variations

This first movement is the unvariated portion of the Goldberg Variations. Here we have a simple case of binary form, with two distinct sections separated by repeats. This piece especially seems closed as we have the end of the first section modulating to the dominant key, and the second section taking the parallel minor key and then returning it to the original key. This piece is in G, changes to D Major, from there goes to e-minor and finally resolves back in G major. Our A section is made up of two periods each symmetrical. The first one contrasting, the antecedent phrases ending with a half cadence, the consequent flirting with our dominant key, before ending on a PAC. The second phrase not only flirts with the dominant, but takes it out to dinner and a movie, modulating immediately before a half cadence on the fourth measure, ending on a PAC in D Major to end the phrase. This whole section is repeated in order to offer even more contrast between the sections. The second section begins with a flourish in the right hand in our original G major, before quickly a D# comes in, pulling us into our parallel minor key. We continue to a half cadence in the minor and the entire consequent phrase remains in minor, ending on a PAC. Now things get interesting, we have a cadential extension for two measures as we move to a PAC in our original key(with a similar melodic function as the first section). Finally we have a terminative section, with a vast harmonic motion and a virtuosic right hand section playing fun and happy 16th notes, before terminating 6 measures later in a final PAC in our G major key. This ENTIRE section is repeated, adding nothing new while also simultaneously distancing this section from the original material. This is a closed binary form, since it begins and ends in the same key. It is also simple since we don't really bring back the premier material except for a single cadential function.

In the immortal words of Forrest Gump: "and that's all I have to say about that."

French Suite No. 6 in E Major (Polonaise) - Bach

(I WROTE ALL OF THIS AND THERE WERE PROBLEMS UPLOADING IT, THEN THE SITE LOST IT)

This is a simple, open binary form. Beginning in E major and in 3/4 time (in which it remains throughout), the A section consists of a parallel period of eight measures. It is symmetric as each phrase lasts four measures apiece. The first phrase cadences as a PAC in E, while the second phrase modulates to the dominant B Major and cadences in a PAC in the new key. Arguably, this is not a period, due to the fact that both the cadences are PAC's and there is little feeling of antecedent and consequent phrasing. However, given this section A's context in a binary form, I prefer to think of it as a nice, neat parallel period. Because A modulates to the dominant, it marks the "open" or "continuous" binary form.

Following, at the start of the B section, we have an eight measure constrasting period composed of two four measure phrases. They consist of an antecedent and a consequent phrase marked by a HC and then a PAC in the key of c#minor. To me, this functions as a development of the original expository material in A, for the first phrase begins with the same rhythmic and melodic contours as does the beginning of A. Still, the second phrase in the period resembles little the material from A (excepting measure 15). Then following, there is a four measure transitional phrase that moves the section back to B Major and ends on a precarious IAC which is quickly overrun by a pickup of the last four measure phrase. These last four measures introduce new material and thereby hold an expository function. They also express a return to the original key of E Major and end in a pleasant PAC.

Due to the extensive amount of developmental and transitional material, coupled with the new expository material at the end, I would most definitely say that the form is simple. However, since the first eight measures of B are indeed rather parallel to A, one could most certainly argue that this Polonaise is indeed rounded (II: A :II: A'B :II). Still, for me, given that the first eight measures of B are in a minor key and do not strictly follow the material of A, I am much more inclined to see this as a long development and as part of an new section (that of B, namely). Therefore, I regard this in open, simple binary form.

French Suite No. 6 in E Major (Polonaise) - Bach

The Polonaise appears to me to be in open, simple binary form. It begins with the A section in 3/4 (which it remains in throughout) and in the key of E major. A consists of a parallel, symmetric period that modulates in the second phrase group to the dominant major of B--thus making it "open" or "continuous". Both of the phrases in A end in a PAC, though the second PAC is naturally in B. For this reason, one may not choose to look at a as a parallel, antecedent-consequent phrase, but as a phrase group. However, givin that it is the A section of a clear binary form, I tend to look at it more as a parallel period. Immediately following, is the B section which begins in two four-measure phrases of developmental exploration in the key of c# minor. The first phrase of B especially echoes the theme of A in its onset, but does so in the minor key of c sharp. The consequent phrase from m13-16 does not resemble nearly as much the thematic content of A (there is one rhythmic gesture that reappears in the right hand of m 15). The two phrases represent a constrasting, symmetric period marked by a HC at measure 12 and by a PAC at measure 16. This is followed by a four measure transitional phrase where the theme of A is picked up again, but used to modulate back to BM, landing on an IAC. The last four measures consist of new expository material in the original key of E ending nicely on a PAC.

Because the B section not only does not clearly repeat the A section, but it has a long development and transitional area and also introduces new thematic material, I cannot see how this could be a rounded binary form. With A ending clearly in the dominant, and B standing very distinctly in contrast with A, I must dub this in open, simple binary form.

Bach's Gavotte from English Suite No. 3 in g minor

Bach's Gavotte in g minor is an example of simple binary form. This piece is clearly divided into 2 sections by the double bar line. Section A begins in g minor, but modulates to Bb Major, creating a tonally open section.
The B section begins after the double bar line and serves as a developmental and transitory section. This section is considered to be simple binary form because the A section does not return. There is a motive similiar to that which appears in the A section, but it is in a different key and uses different harmonies. The B section is much less stable tonally than the A section. By the end of the section, we have modulated back to the original key of g minor in order for the piece to serve the simple binary function.

"Goldberg Variations, Aria" by Bach

This piece is a fairly simple binary form. This short Aria is composed of 4 sections, each 8 measures long, each containing a half cadence leading to a perfect authentic cadence. The first section is in G major, and serves as an exposition. The next section modulates to the dominant of D major, but retains some of rhythmic motives similar to the prior. The third section modulates to the relative minor, sugesting that the last two sections were transitional. There is much ornamentation in this section, with crescendos and trills accenting complex rhythms. THe final section modulates back to the tonic G major. As it has little else in common with the A section, it would be called the B section. This is another exposition. I liked this piece, the written ornamentation gave it quite a bit of flair. As the piece progressed, the rhythms got shorter, faster, and more complex, adding interest for the listener until the end.

BACH- Gavotte from English Suite No. 3 in G Minor BVW 808

I'd have to say that recently I have come to appreciate and enjoy a good Bach Gavotte. The orchestra is doing one right now which will be played prior to the Augusta Read Thomas piece, Galaxy Dances. She told Mr. Smith that she was heavily influenced by both Bach and Debussy, so he decided to incorporate their music into the concert as well. Kind of a cool little note.
Anyway, the Gavotte is usually a peppy little dance melody with downbeats marked tenuto more to help the dancers than the musicians, but for the most part played stacatto, despite the fact that there are no indications in the score.
This gavotte by Bach reminds me of the one we're doing right now. The piece begins in G minor as indicated by the title, the key signature and all the nice f#s. The first eight bars makes up a period in my mind, the first four bars ending in somewhat of a half cadence in the middle of the fifth measure when the exposition repeats itself. I think its fair to call this little repetition of material an ellision since it is in the middle of a meaure. Interestingly though, somewhere between measures 6 and 8 the expostition modulates to the relative B-flat major, ending in a Perfect Authentic cadence in this key.
The period repeats itself, and what could be considered the B theme begins. It has a similar rhythmic motive to the A theme, though it sounds nothing alike. I think I would probably venture to say that the three measures preceeding measure 11 are more transitional\developemental than anything else. The rhythmic paterns chance and more notes start happening at measure 11 which really differenciates this as the B section of the piece. The material continues onward, without a trace of the A theme or any expository material. The key signature starts to get played around with a little more, and all of a sudden towards the end of the section there are f#s and e-naturals popping up and it seems that the piece has modulated back to the orginal key of G minor.
I'm still a little shaky on the terminology, but I think its best to say that this is a closed binary form. It ends in the same key that it began in, though there is no return to any expository material after its initial introduction at the beginning of the piece.

JS. Bach's English Suites- Gavotte I

The double bar following measure 8 marks the end of the A section and the Beginning of the B section, the two major sections of the piece. The phrasing of the A section, from m. 1-8, is difficult to clearly define because of the lack of clear structural breaks, with only the performers articulation to serve as a guide. It question is whether there is enough clear pause from the extra durations in measure 3 and 6 to consider both to be the ending of a phrase on a deceptive cadence. In that case, it would be a double parallel period (abac) with the first pair ending on an IAC in g minor and the second pair ending on a PAC in the relative of B-flat major. The function of this section is expository. The B section begins with similar material of the first in the new key. Measures 9-17 are unstable and function both as developmental and transitional into another modulation to d minor. Measure 18-25, starting in the new key, is similar to the previous measures, but its function is mostly transitioning back to g minor. The final measures to the end begins like the beginning but again becomes tonally unstable and developmental until the g minor is completely established in the last few measures , which serve an expository role and end the piece on a PAC in the original key.

Gavotte in g minor by Bach

I like this Bach composition. It's exciting that the left and right hands mimic each other with rhythmic motives. It is in simple bianary form. It follows all the rules of simple bianary form. It is in two sections that are separated by double bar repeats. The A section isn't a solid period but is exposititory. It could be argued that there is a cadence is the middle of measure 4 before repeating the opening melodic material again but since this is weakened so much the suspension, it is almost easier not to think of it as a period. The B section is longer than the A section, has developmental material, and is less stable tonally. Measure 18 is the only area in this B section that I would call a cadence and even then it is confusing to label as such since I'm not sure what key we're in and it only lasts momentarily. A is open because it ends on the relative major key in g minor. I'm still pretty confused about all the terms associated with bianary form so I hope I did this properly.

J.S. Bach; French Suite in E major, Polonaise

This piece is in closed simple binary. The A section is a parallel symmetric period because each phrase is four measures long and have the same opening measure. The first cadence is a PAC in the tonic key of E major and the second cadences modulates to B major. The prevalence of A sharps in the previous measures solidifies this. The A section repeats before moving to the B section. The A section is expository material.

The key change is the only way to initially sense the B section. This piece has little structural division with the bass consistently doing single line eight notes and no dynamics. The rhythm and melodic contour is basically the same for the first phrase. I have a real hard time interpreting this part. With only two lines it's hard to distinguish chords, and after listening to it several times I have a strong feeling that the piece has modulated to C sharp major, which is foreign to both E major and B major. I have a hard time hearing where exactly this occurs, but I feel the half cadence in measure 12 resolve in measure 13 and a very strong PAC in measure 16. The next period immediately goes back to E major with a quote of the A melody down an octave in measure 17, but the rest of this period is new material, which reaches a half cadence after four bars before a PAC in the final measure. The B section then repeats again, and serves as development of the A section.

Gavotte from English Suite no. 3 in G minor

j.s. bach's gavotte from the english suite no 3 in g minor is an example of a piece in simple binary form. there are two distinct sections, an A section and a B section, divided by a double bar. both of these sections are repeated, and both present new ideas. part A is "open" because the end of the phrase does not end in the key it started in. in fact, it modulates to the relative major (from g minor to b flat major). the whole piece is considered simple binary form because there is no return of the exposition...although the beginning of the B section provides a similar motivic gesture as the A section, it is not repeated in the same key. the B section is not harmonically dependent on the A section. B however, can be thought of as a mix between a transitional and development section because it changes the key back to g minor after it previously changed to its relative (b flat) major and is significantly less stable (tonally) than part A.

J.S. Bach – “Gavotte 1” from English Suite No. 3 in G minor

Gavotte No. 1 is written in g minor with no structural phenomena other than the double bar lines dividing sections A and B. The piece is written in g minor – there are no marked changes in key signature.

The A section encompasses measures 1 through 8, and is repeated. This section is a parallel, symmetric period, with the antecedent phrase ending in the middle of measure four on an IAC, and the consequent phrase ending on a PAC in measure 8, tonicizing the relative major key, Bb Major. I would consider the A section open or continuous, in that it modulates to Bb Major. The A section is expository.

The B section appears to tonicize d minor right away, evidence of structural division that is not obvious at first glance. The B section is a phrase group that is repeated, and is definitely tonally unstable. It expands upon themes from the A section, so it must be developmental. There is a PAC in d minor at measure 18. There is a cadence at measure 26 that is a little more ambiguous to me, since it occurs so quickly. It seems to be a HC in g minor, meaning that we’ve returned to the tonic key. The final cadence is, of course, a PAC in g minor.